Udemy Species Counterpoint Music Theory Skills TUTORiAL

Is this same as the old tutrial we saw before? I think it's new

Aproved. I watched all this to be able to comment, I studied counterpoint for 3.5 long years in the Uni and I approve all this material. It is amazing that from time to time a thinking mind appears contributing to the Udemy label.

This material is well explained, simple rules to learn in a good British accent.

Every student of composition in a serious academy of music, must learn this, any university course of music is obligatory, it's impossible to learn regency without learning counterpoint, therefore, to understand the music, every conductor or maestro has to know counterpoint, therefore, will never be able to make musical analysis of what will govern.

What is it all about:

You will learn that CONTRA means AGAINST, would be something below something, although the 'Cantus Firmus (your own bass line melody)' is written below to be able to position the notes in relation to it.
POINT means NOTE (Punctus), a simple dot, that is the note against the fixed melodic line you've create.

The dot against dot, the note against note, the fight of both but following rules of behavior like martial fights, one can't kick certain parts of the others body because it can hurt, therefore, the ear can't be hurt or punched with dissonances of some musical intervals, there must be a movement between the notes, as if they were atoms in full motion and from time to time they harmonize forming different chemical elements.

This LATIN word has been translated into English or it's meaning has been lost, because counter in English also means: contrary, reverse, converse, inverse, opposite.
Not wrong, but in my humble opinion to make it clear, a good English name would be: Contrarypoint, because the word counter can be confused with counting.

You will never master a great orchestra if you don't learn the rules of counterpoint.

You will never understand baroque music, with Bach being more than three voices, Beethoven or Brahms, requiens, oratorios and other old pieces, know that the counterpoint is not only for singing, but also for instrumental music.

Historically, you will understand why the dissonances were treated and why 2nd, 4th, and 7th intervals were treated at that time.

You'll understand the evolution of music through the prohibition process and the historical reasons of that music in your ears.

The Estonian composer of the twentieth century 'Arvo Pärt' decided to use the counterpoint in his music.

You'll learn that it is just a composition technique, that it is as if you applied any boolean rule in a computer software to it be able to compose all the music lines in less than 5 seconds from a simple melody of your own creation. If Bach had had a computer, he would have at least 5,000 works today, that mental computer was in his brain, and he had to think a little more and listen to the result for the best choices of his counterpoint.

Yes you can make decisions, because in the 80's, a computer in Germany was programmed with all the rules of the counterpoint, and the Cantus Firmus of several J.S. Bach pieces were imputed, the results were perfect, it was played by real orchestra and a real choir, but in spite of sounding perfect, the music written by J.S.Bach himself sounded better and more beautiful than the various and very limited possibilities of the very rules of the counterpoint.

It is the best brain exercise to learn musical intervals, teach children early on, because mathematical calculations will improve logic and pay attention to key signatures, start in C Major tonality, then a G Major with just one sharp, then go to 'A harmonic minor' and slowly build up the mental counterpoint in your brain.

For you to understand that the whole process of baroque music creation, like those symphonies of the classical period, are not genius creations as amateurs understand, therefore, the rules of counterpoint help to compose faster:

Bach who most composed in the whole history of music loved the counterpoint, so he was able to be the most proficient composer, because if he did not use this pragmatic technique, he would not have time in his life to write so much plethora of music and still make arrangements for the music of others, or you still believe that famous Minuet in G belongs to him, but not, Bach just arranged the famous Petzold's Minuet.

Haydn did one symphony per week using this technique, which is like picking straw to make a basket to put dirty clothes or fruit.

The problem is that Salieri only saw the counterpoint, so much that he was Beethoven's counterpoint teacher, and that brought a certain limitation to him.

Beethoven used counterpoint, but he mocks many rules and ends up creating exclusive and incredible sonorities with his errors, the question was always, was he deaf and did not listen, but it was easy to see the error in the score before listen.

Mozart had the whole rule in his brain, but he never used the counterpoint tecnique of composition, but when he did, for his best example, the requiem before his death, he uses technique with primacy.

Vivaldi, didn't like to use this technique to compose, he prefered to write the strings playing fast and thinking of the fast sonority based on the possible scales of the harmony, but, from time to time he uses counterpoint, and his music gets wonderful.

The romantics preferred to do as Vivaldi did, let the sonority manifest using velocities of the scales, fast thirds and arpeggios, not holding the counterpoint, but, discovering the amazing ways that the 9th and 13th of the chords could bring to the music sonority.

Chopin didn't use counterpoint as well, Schumann, Mendelssohn, but Liszt will map, study and use in some musical pieces.

Brahms will return to the past using the counterpoint technique, but with freedoms in pursuit of sonority.

Ravel, Debussy and Stravinsky will ignore all counterpoint techique.

Modern guitar players will play with two guitars and see what comes out using counterpoint and then improvise on some contrapuntal result.